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Upstream's emphasis lies on works that were created by Ari Marcopoulos during the last two years and have never been shown before.
An ode to love and community, offering a glimpse into intimate, underexposed South African marriage ceremonies.
This landmark publication chronicles Shafran’s commercial and un-commercial approach to photography, with interviews and reflections between Shafran and his peers threaded throughout.
Graubard’s raw diaries of Eastern Europe from 1993–1995 reveal a fearless and unflinching record of turbulence and change across the Balkans.
A sensual document of these trying times, Lisa Sorgini’s series of portraits taken during the pandemic render the complex experience of motherhood in shifting shades of light and darkness.
The new IDEA book is Acid House As It Happened by Dave Swindells. A brilliant title for what is already the definitive unofficial visual chronicle of 1988.
Candid and personal, dazzling with color and immediacy, the first monograph of Campbell Addy, a rising star of the photography scene.
How have women artists used photography as a tool of resistance? Our Selves explores the connections between photography, feminism, civil rights, Indigenous sovereignty and queer liberation.
Hey shows a selection of personal works from Ilja Keizer, shot over the past five years. It is a study and observation of what a person is willing to show to a stranger in the totally artificial setting of a photoshoot.
Tim Richmond’s elegiac, sombre ode to a coastal stretch of the Bristol Channel poetically weaves together lives hit by decades of austerity and isolation.
Artist Nadia Lee Cohen collected the name badges of 33 unknown individuals. She created personas for them, visualised them and ultimately transformed herself into them. Second edition.